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Difficult Passages in the Song of Songs HAUPI' : DIFFICULT PASSAGES IN THE SONG OF SONGS. 5 I Difficult Passages in the Song of Songs. PROFESSOR PAUL HAUPT, PH.D. JOH!IS HOPKINS ll!IIVBRSITY. N my lecture on the Book of Ecclesiastes, published in the Orim­ I lal Studies read before the Oriental Club of Philadelphia,! I quoted Renan's 1 remark that Ecclesiastes, as well as the Song of Solomon, represented a few profane pages which, by some accident, had found their way into 'that strange and admirable volume termed the Bible'; the Jewish doctors understood neither the one nor the other, otherwise they would not have admitted such compositions to the collection of sacred writings ; it was their stupidity that enabled them to make out of a dialogue of lovers a book of edification, and out of a sceptical book a treatise of sacred philosophy ; Solomon's Song and Ecclesiastes were just like a love-ditty or a little essay of Voltaire which had gone astray among the folios of a theological library. I added at that time that I could not agree with the famous French critic in this respect : I believed the theological contemporaries of Ecclesiastes were by no means too stupid to grasp the import of his anti-Biblical statements, but as they were unable to suppress the book, they endeavored to darken its real meaning, for dogmatic purposes, saying as Georg Hoffmann put it in his translation of the Book of Job,3 Let us save the attractive book for the Congregation, but we will pour some water into the author's strong wine. Not satisfied with the obscuration of the original book, the theological revisers tried to cut up and dislocate the text as much as possible, destroying the original order and logical sequence, so that in the present form of the book there is no proper arrangement, no logical connection between the individual verses : it seems like a conglom­ eration of disjt:ela mtmbra. Professor Bickell, of Vienna, tried to show, in 1884,4 that the con­ fusion was merely due to a mistake of a bookbinder who misplaced the quires of the manuscript ; but the disarrangement was not acci­ dental, but intentional. I appended a translation of the closing / o1git1zed by Goog le JOURNAL OF BIBUCAL LITERA11JRE. m:ti\'n of Ecclesiastes restored in its original order and freed from tht' ~lusses that have clustered about it.5 ln the Song of Songs there are no theological interpolations itl~l'rted for the purpose of weakening the pessimistic arguments of the author, such as we find in Job and in Ecclesiastes, and occa­ sionally in Proverbs, as I pointed out at the meeting of this Society in Philadelphia, on Dec. 28, 1900; 8 the Song of Songs was not suffi­ ciently pessimistic to require this antidotal treatment; in fact, it is so decidedly optimistic that this glaring optimism had to be toned down a little, and for this reason the exuberant praise of sensual love was given an allegorical interpretation. We have undoubtedly a good deal of allegorical and symbolical imagery in the erotic phraseology of the Song of Songs : ~.g. the virgin charms of the maidens are called their vineyards; the body of the bride is styled a mountain of sweetness and a hillock of fragrance ; 7 the bridal bed is termed a dining-couch, and the bride­ groom is invited to lie down at the feast; It the bridal chamber is called a tavern~ the sign of which is Love, and they intoxicate 8 them­ selves with love ; the kisses and caresses of the bridegroom are symbolized by raisin-cakes and apples with which he refreshes the bride llll_ but this allegorical imagery all refers to sensual Jove. The bride is not a personification of Wisdom which Solomon is trying to win ; nor do Solomon and ·the Shulamite represent Christ and the Church, or the love of Yahweh to His people; still Jess can we adopt the traditional Jewish view which considers the Song of Songs to be an allegorical sketch of the entire history of Israel from the Exodus to the coming of the Messiah. The Song of Songs is neither allegorical, nor typical, nor dramatic ; 9 indeed, it is not the work of one poet but a collection of popular love-songs, probably made in the neighborhood of Damascus,.18 after the beginning of the Seleu­ cidan era (3 12 B.c.) ; and these songs are not all complete, neither are they given in their proper order. Several explanatory glosses, variants, and iilustrative quotations appear in an entirely different context. For instance, the stanza in 21 0 maidens, lo, I beseech you, by the gazelles and the hinds of the fields, That ye stir not nor startle our loving before our fill we have drunken. appears again in 35 and in 8\ where it is entirely out of place. These lines form the conclusion of the song addressed by the bride to the o1git1zed by Goog le HAUPT : DIFFICULT PASSAGES IN THE SONG OF SONGS. 53 bridegroom on the morrow after marriage. On the day following the wedding the newly married couple awake as King and Queen ; they receive their 'vizier,' the best man, 10 at an early hour, but on the subsequent six days of the 'King's Week' 11 the festivities do not begin before noon. The bride beseeches the female guests not to disturb their connubial bliss until it be ended with ample satiety, as she is just as shy as the gazelles and the hinds of the fields. She bids the bridegroom to enjoy her charms until there arises the breeze (of the morning) 12 and the shadows (of the night) 12 are departing. He is to leap u on the malobalkron mountains 7 like a gazelle or a young hart. Malobalkron (or malabalkron) is a most precious aromatic men­ tioned by Horace and by Pliny, probably the oil (ol~um malobatkri­ 23 11 num) of cinnamon qi~~R; cf. 4H Exod. 30 Prov. 7 ), obtained from the bark (cortex malabalkn') and leaves of the cinnamon tree ( Cinnamomum Tamala, Nees) cultivated on the Malabar coast bordering on the Arabian Sea, not the cinnamomum Cqlanicum, or the cinnamomum cassia (Chinese cinnamon, cf. n,,'lti' Ps. 45u), or the cassia lign~a or wild cassia. According to Pliny, malabalhron was found also in Syria (Plin. xii. 129: dal d ma/abalhron S;-n"a). In xxiii. g8 Pliny states that a leaf of malabalhr01t put under the tongue sweetens the breath, and that it is used also for perfuming articles of dress (oris d ha/ilus mavitalem commmdallingua~ subdi­ tumfolium, siculd z•utium odor~m intcrpositum). Horace ( Carm., ii: 7'') addresses his friend and comrade Pompeius Varus: 0 Pom­ peius with whom I often shortened the dragging day with wine, the hair perfumed with Syrian maloballtron, Pompd m~orum prim~ so<falium Cum quo morant~m sa~p~ diem muo FN~i corona/us nit~ntis Jl.lalobatlzro Syrio capillos. Budde thinks that .,n:: is identical with the betel-plant of the East Indies, but betel-leaves are merely used as a wrapper for the little pellets of areca nut which are extensively chewed in the East. It is hard to believe that Horace should have perfumed his hair with betel-pepper (contrast crines cinnamd). Nor does c/>v>.Aov 'Iv&Kov or c/>Vllov denote a leaf of the betel-pepper; it must mean a roll or quill of cinnamon, which Herod. iii. II 1 calls Kap~. There is, however, some association between cinnamon and pepper: the quills of cinnamon are, as a rule, covered on shipboard with black pepper, which is supposed to keep off moisture. Digitized by Goog ie 54 JOURNAL OF BIBUCAL UTERATURE. 8 Cant. 2 17 reappears, with slight variations, in 4 , where the bride- groom says: Till the breeze (of the morning) 11 arises, and the shadows are taking their ftight, I will go to the mountain of myrrh and to the hillock of incense; 7 and at the end of the book we find the misplaced variant, Bolt,13 my darling, like a gazelle or a young hart on the mountains of spices.7 This variant Mj~ 'bolt' explains the imperative ::0 in the 17 original passage 2 , which has never been understood heretofore. Siegfried translates, Turn to making thyself like a gazelle, begin to make thyself like a gazelle. According to Budde ::0 ' turn ' means here 'come here'; but the verb ~::lO is used in I S. I611 in the sense 'to be around the table,' LXX KaTaKA.t6wfU11, Vulgate discum­ 1 bemus, and this has an erotic meaning just as a((ubare or accumbere. • In I 12 we read ,~ fZi~ ~~ I i:llQO~ 1':10:-t'!t' ,~ 'as long as the King was in his accubation,' enjoying his feast in a recumbent posture, 'my spikenard u exhaled its fragrance,' i.e., my darling seemed to me the sweetest thing on earth.33 We find this erotic use of :l;)~ 'accubation' or 'dining-couch' in the Talmud: in Sltabb., fol. 63'" we read : .,~,M C~ ,~:"T y~ ~'lt'~M C':l'lt',.,~ ''lt''M ~:-t~ ~., .,t:M r~~~ :-t':l~~~ :'!Tl'M'It' Zi£l~ ,M :-t':l'~~ Zi£l~ c,~:-t J;I,~C :"T~~ ,.,;o':! ,M ~,to .,:;M~ .,¥i' ::lO~~ ,M ~m ~C~~ ~':I,.,M r~~~ ,M ~,) lim':! f';l~, ~I?~ ~., .,t:M ~., .,~M~, i.e., Rabbi Jehudah said, The men of Jerusalem were very frivolous. A man would say to his friend, e.g., What did you have for supper last night? 18 well-worked bread or unworked 17 bread? Had you Gordelian wine or Khardelian wine? Was your couch spacious or short? Had you good or bad company? Rabbi Khisda said, All this refers to illicit intercourse.
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